The architecture of the Votive Temple of Maipú is very imposing both in its exterior and interior construction where the decorative contribution of the design and the forms and spaces that are generated with the set of parabolic arches is undeniable, facilitating the admiration of the construction.

The set of stained glass windows that take away the cold aspect of the huge walls are marvelous, the giant stained glass window in the front being the most outstanding, with a semicircular arch, in honor of the Virgin del Carmen, the only one in a figurative nature, since the others are abstract works. The small stained glass windows of abstract forms and colored in tones of yellow, blue, pink and purple provide the illumination and color to the interior of the temple that, during the course of the day change in a chromatic manner.

The stained glass windows were entrusted to the Austrian Adolfo Winternitz, who used the technique “dalle de verre” for the execution of these pieces. This technique, consists on assembling the window in the glass of a cement structure frame and, that on-sight, become the lines that define the drawing, thus, volume is given by the succession of pieces in different tones. The format is vertical, and measures twelve by twenty-nine meters, made in Chiara, Switzerland and is found in an excellent state of preservation.

It is said that Winternitz, himself, would have installed the stained glass windows in the Votive Temple in 1971. The stained glass window of the Virgin del Carmen is one of the largest in the world.

The high altar is presided by the Quito-style image of the Virgin del Carmen, in polychrome wood. This figure dates from 1785, when the Spaniard Martín de Lecuna entrusts the image to Quito for its veneration in the Chapel of the Saint Martín Ranch, located in Ñuñoa. For a long time, on July 16th of each year, it was taken to the Church of Saint Agustín, to celebrate the Solemnity of the Virgin del Carmen.

Afterwards, the image gets to the hands of Rosalía Mújica de Gutiérrez, descendent of Martín de Lecuna, who donated the figure of the Virgin del Carmen so that it could be venerated in the Sanctuary of Maipú.

While the temple is built, the image was transferred to the Cathedral and, in 1948 it starts to be shown throughout Chile, starting from the Church of Saint Lazarus of Santiago, so that it can be venerated and also to collect money in the pilgrimages to reunite funds for the construction of the temple. Finally, in 1956, the figure of the Virgin del Carmen accompanied by thousands of faithful followers solemnly arrived to the Votive Temple of Maipú.

The image is located in the top part of the presbytery and is surrounded by a bronze halo, designed by the Peruvian sculptor Susana Roselló.

The altar of the chapel located in the right transversal nave, looking from the entrance towards the front is dominated by the image of the Holy Trinity, imagery made in polychrome wood. The colonnade has a bronze text with extracts from the Gospel and the “Our Father” Prayer.

In the same manner, the altar of the left chapel is dominated by an image of Jesus made of polychrome wood.

In the lateral naves a series of small altars can be appreciated without a defined style, dedicated to devotional figures, which are separated by large images representing the Stations of the Holy Cross. It is worth noting that, since it is a votive temple, it receives donations from all parts of the country, so that there are different styles in the development and ornamentation of the figures of the devotional altars. The way it unifies the styles, which is carried out by means of color canvases located in the top part of each altar, thus providing order and rhythm to them. The Stations of the Holy Cross are represented over large size wall panels, with printed graphics.

At the entrance of the temple, visitors can appreciate the Cross of Chile, which was created in 1967 and traveled throughout the country and at that time was called the Cross of Maipú, representing the national church and venerated in many processions.

This first cross was built by the Bishop of Osorno, Monsignor Francisco Valdés, with wood from the different southern forests and a silver star.

Afterwards, in 1974, the current Cross of Chile is raised, as a symbol of union, formed by twenty-five wood cubes, each one carved and ornamented in the different Dioceses that there were at that time and the star was made from olive wood by craftsmen from Bethlehem.